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How to Fabricate Alien Fur for a Giant Creature

Just how does a giant creature get its realistic, custom fur? Find out, as we break down the process of fur fabrication for this year's massive beast.

Released on 08/15/2014

Transcript

(upbeat rock)

Once the customer decides on the colors,

we make a blend,

and then we cut the fiber.

After cutting, we stick it onto the picker machine,

we take it over here, and it goes through the card.

We bring the fiber over here,

stick it on this table,

and then it flicks it onto the knit backing.

[Kim] And that's how we make fabulous fur!

Hey, it's Kim and Fred.

[Alan] Hey Fred.

Hey there.

[Kim] All right, did you guys get the samples?

[Alan] We have 'em here in front of us.

Thank you so much for doing that.

Tell me about which one's we're looking at though.

The ones that we like the best were

CF20571XL

and 20570XL.

[Alan] Yeah.

Those are our favorites as well.

Are those custom blends?

[Kim] Yes.

[Fred] Of course.

[Alan] Of course they are.

That's why they look so good.

[Fred] If you turn it upside-down,

you'll get a lot more loft out of it without the weight.

[Alan] Fuzzier.

Like he said, it's got more lift.

We like the darker one.

[Kim] All right!

[Fred] Excellent.

[Kim] Yay!

So we all agree that it's L that we're gonna go for.

Yep. Yep.

[Kim] Well, we will start busy cutting away.

Okay, fantastic.

Thank you so much.

This is great.

It's great material.

It's very forgiving 'cause the fur is so long,

so we can machine-stitch the seams.

We don't have to pick 'em out because the fur is so long.

And it stretches a lot,

so it makes our life easier.

The pant leg, which is being cut out,

is gonna come all the way down here,

and it's gonna be seen to the top of the feet,

and it's gonna glue just like that.

Ted told me where he wanted the pattern to be.

He cut out the hair.

Tracey and I glued the entire edge,

and then I basically just blended off the edge.

(upbeat pop music)

NFT is great, especially if you have mass quantities

of areas to do, like any creature that

involves a large suit,

or anything that's this size,

if you were to hand-tie it,

it would take a large crew at least a year or two.

I might put a little toe hair in, you know,

like how I have.

No, why don't you show us.

You wanna see my toe hairs?

Not...

not really.

You're lookin' at em.

It's gonna be like this, basically.

Just a little jooj.

Just a jooj.

A little bit of product, you know?

One of the really cool things about

working directly with NFT is that Kim and Fred

were able to give us the insider tips and tricks

on how to make fur look great.

[Kim] Being here at Comic-Con has been so great for us.

We usually don't get to participate in the end result,

and it's just been fabulous.

All your hard work,

and getting us involved from the beginning

was a great thing for us.

[Alan] Check out the Wired channel, thescene.com,

for the entire giant creature series.

HOW TO MAKE A GIANT CREATURE - The Webseries

Produced by Stan Winston School for WIRED in association with: Legacy Effects, Condé Nast Entertainment & Stratasys

Executive Producers: Matt Winston, Erich Grey Litoff

Producers: John Ales, David Sanger

Director of Photography: John Ales

Production Coordinators: Maggie Sayer, Teresa Loera

Camera Department: John Ales, Jake Borowski, Ben Saltzman, Peter Gould, Chris Trueman

Production Intern: Nick Norton

Post-Production:
Lead Editor: Damien Acker
Editor and Live Editorial Lead: Yukako Shimada
Editors: Peter Gould, Jacob Goodman
Assistant Editors: Jake Borowski, Ben Saltzman

Giant Creature LIVE Team:
Live Coordinator: Christopher Vaughan
Live Editorial: Yukako Shimada
Cameras: Jake Borowski, Peter Gould, Ben Saltzman
Sound: Chris Trueman
Giant Creature Live Assistant: Ryan Cultrera
Production Interns: Nick Norton, Marni Roberts

Social Media for SWSCA: Andy Franco

Music by Network Music Lab: www.networkmusiclab.com

GIANT CREATURE CREATED BY LEGACY EFFECTS

Giant Creature Project Supervisor: Alan Scott

DESIGN: Jim Charmatz, Kourtney Coats, Darnell Isom, Scott Patton, Greg Smith Won-Il Song, Bodin Sterba

RAPID-PROTOTYPING: Jason Lopes

ART DEPARTMENT: David Monzingo-Supervisor, Vance Hartwell, Trevor Hensley, Akihito Ikeda, Mark Killingsworth, Mark Maitre, Jason Matthews, Paul Mejias, Rob Ramsdell, Christopher Swift

FABRICATION DEPARTMENT: Dawn Dininger, Ted Haines, Bruce D. Mitchell, Tracey Roberts, Amy Whetsel

PAINTERS: John Cherevka, Erick De La Vega, Jamie S. Grove, Derek Rosengrant

MODEL DEPARTMENT: David Merritt-Supervisor, Brian Claus, Ken Cornett, Alan Garber, Jesse Gee, James Springham

MECHANICAL DEPARTMENT: Peter Weir Clarke, David Covarrubias, Rich Haugen, Seth Hays, Russ Herpich, Hiroshi 'Kan' Ikeuchi, Jeff Jingle, Jim Kundig, Richard Landon, Lon Muckey, Brian Namanny, Hannah Wilk

ELECTRONICS DEPARTMENT: Rodrick Khachatoorian, Greg Keto

MOLD DEPARTMENT: Damian Fisher-Supervisor, Javier Contreras, Tony Contreras, Lou Diaz, Jeff L. Deist, Chris Grossnickle, Clay Martinez, Jacob Roanhaus, Frank Ryberg, Jaime Siska, Gary Yee

FOAM DEPARTMENT: Cory Czekaj-Supervisor, Ken Culver, Jacob Roanhaus

HAIR DEPARTMENT: Connie Grayson Criswell

3D PRINTING BY STRATASYS: Terry Hoppe, Bonnie Meyer Darren Perry, Isaac Damhoff, Michael Block, Jay Beversdorf, Kevin Nerem, Mac Cameron, Paul Merrill, Dan Wahtera, Jamal Muhammad, Bill Morrow, J Consuelo Mendez

RANCHO CA OFFICE UNDER TERRY HOPPE: Steve Gibson, Mark Bashor, Patrick Brault

BILLERICA OFFICE UNDER TERRY HOPPE: Leslie Frost

ADDITIONAL STRATASYS STAFF: Jessica Songetay, James Berlin, Chris Cates, Dustin Kloempken, Cathleen Kadletz, Marc Downie, Ryan Litman, Daryl Baumgartner

FUR BY NATIONAL FIBER TECHNOLOGY: http://www.nftech.com
Maggie Bloomer, Kim Clark, Fred Fehrmann, Emile Gagne, Carol Goans, Juan Gomez, Talia Harvey, Kaitlin Hardy, Allison LeSaffre, Kate Maloney, Chris McMullen, Abby Roy

"AUGMENTED REALITY" BY BLIPPAR: https://blippar.com/en/
Marc Florestant-3D Artist, Leon Tyler, Radu Nicolau, Matt Banyard, Gareth Upton, Mike Harris, Brian Morales, Cheena Jain, Patrick Aluise

FOAM MILLING BY ALCHYMIA: Alfred Kuan

SOUND EFFECTS BY ANARCHY POST: http://www.anarchypost.net
Dan Snow, Tom Boykin

SOUND & LIGHTING CONTROLLERS BY ADAFRUIT: https://www.adafruit.com
SPECIAL THANKS: John Rosengrant, Shane Mahan, Lindsay MacGowan

New Deal Studioses: Shannon Gans, Matthew Gratzner, Ian Hunter

Visit our WEBSITE: https://www.stanwinstonschool.com

SUBSCRIBE to SWSCA on YouTube: http://bit.ly/Zp70T4

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